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| B
I O / C.V. |
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| CURRICULUM
VITAE
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>> Spanish - Español |
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She was born in Porto Alegre in 1945. She has lived and worked in Rio de Janeiro, Paris, Milan, Budapest, Brasília, Washington D.C., Montevideo, New York City, and Santiago. She has been living in Montevideo since March 1999.
1966: Guignard
Gallery, Belo Horizonte- "The art of Solange Escosteguy and Antonio
Dias", wearable art; 1988: Army
Club, Brasília- "Live forms III", wearable art; group exhibitions 1964: Vila
Rica Gallery, Rio de Janeiro, paintings; bibliography Pontual,
Roberto- Dictionary of Visual Arts in Brazil, Rio de Janeiro, Editora
Civilização Brasileira, 1969 in the web 1998 -
"Contemporary Artists from Brasília", www.coresbrasil.com.br awards 1974: XXXI
Art Exhibition in the State of Paraná email: sescosteguy@dedicado.net.uy
"Silence
Zones" brings together objects and sculptures made in the last
two years. These are works that clearly mark a new phase, centered in
the use of paper mach‚ and collages. The form, the volume, and
the movement detach themselves from the paper and complement each other
with other elements that I add, such as pieces of wood, cloth, illustrations,
and photographs. For the first time immediate references to the reality
around us appear, although by no means may we speak of a conversion
to the figurative. Hélio Oiticica ("The Creations of Solange Escosteguy"- 1967) The notion
of refinement that designers attach to feminine clothes in general derives
from the price or the luxury of the materials they use and which make
the clothes more or less expensive. For Solange Escosteguy however,
the idea of refinement is not necessarily linked to the price of the
material but to her visual ideas of drawing and color. Solange doesn't
allow herself to get carried away with excesses, by the application
of ornaments over the idea, but wants the form itself, the general cut
of each outfit, to be brought to life from only one idea, which extends
itself throughout the entire outfit completing itself with the continuous
drawing and the color, always very visual. This comes from an innate
drawing gift in the artist, which develops itself in each new outfit
with a huge inventive abundance. The forms evolve continuously, they
wrap evenly around the whole outfit, that is when the most unexpected
semblances appear. They are like vegetable forms coming from the heart
of nature, as if they had been suggested by tropical vegetation, sometimes
loaded with vital experiences which lend them a strange and at times
uncommon nature- this, however, in a very subtle way. Solange is truly
and above all a painter. That is why her visual conceptions come afloat
filled with subjectivism but always translated into visual ideas, in
line, form, and color. When she created in 1966 her first objects, which
I name "anti-boxes" and "supra- relieves", there
was no break or discontinuity between the two activities. She goes from
one to the other, as if this enriched and gave space to her unrestrained
desire to express herself in color and form that arise in new proposals
in each new work. In the outfits she gives form to an innate decorative
sense, of a Matissean clarity, of a sound and impressive visuality:
the color, decorative, vibrates at times in silent tones but always
of an interior nature, which adds itself to the vibration which the
color had at its origin. When she creates her first relieves or "supra-
relieves" they are like extensions of her first activity- she attempts
to put into a purely plastic structure her previous ideas which flow
organically as a vital need. She goes straight to the box relief and
from the very the very first one the form which was then of a trapezoid
was virtually dismantled by the strength of the color form which wrapped
it. That's how the concept I named "supra- relief" or "anti-
box" was born: this continuous rupture, construction and reconstruction
of volumes by the color form was continuously painted over the surface
transforming it topologically. The box here is relief but is no longer
the box form because the artist is not concerned with working on the
constructive idea in the box or in its shape, but she wants with this
to create an ambivalence between color, form, and space, and the box
form or relief where vision may flow continuously in it, out of it,
behind it, and in front of it. For that she uses color in all its vibrations
in a highly decorative form where we can see all her joy in creating,
which is, in my view, the most important trait in her attitude facing
the creative demands. She reminds me sometimes of Sophie Tauber- Arp,
but what is idealism in the Swiss painter is in Solange with her inevitable
tropicalism, an availability to create which flows from inside and transforms
itself into strange outfits, into unexpected relieves, into a really
fascinating geometry. |
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| Fashion
and Art
Fashion is a set of rules that come and go and can determine human behavior. Art is something else. It is a state of being. There is no time for art. Garments serve in their functional aspect of covering the body. In a more attentive analysis, we see that its true motivation is communicative and social, and, above all,that fashion interprets the rules that determine the changes in dressing as a symbol of a specific time. Art in clothing, in adornments, is a manifestation of a state of being. What other reason would there be for the indigenous people to paint their bodies with their joys, sadness, battle cries? Wearable art grows when it is lived, when it completes itself in the movement of the body, when it takes over and widens human expression. For that reason I feel like an alchemist, giving shape and color to those who give their soul and life to the piece of art they wear. Solange
Escosteguy |
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